G&TV: Sci-Fi Friday Night on IPTV

G&TV logoBeing born in 1981 in the UK, there is a certain… comfort I have from watching Red Dwarf. Despite being set three million years into the future, I understand everything. Not only with jokes about Eastbourne or Topic bars; the visual language of Red Dwarf is warm and familiar. A cross between The Young Ones and Chock-A-Block.

And part of that visual language is how BBC2 looked and felt in the 90s. Those classic idents, a bold, chunky 2. Whizzing across the screen as a toy car, flipping in the air like a fluffy dog, or being blown up by fireworks. Despite only actually launching during the initial broadcast of Series IV, for an entire generation, Red Dwarf became inseparable from those wonderful pieces of film. (Many, many years later, I got to play with those idents on air on BBC Two for real… and that toy car ident became the most metaphorical ident in the world.)

But today isn’t a day for comfort. At least, not for me. Because a big part of Red Dwarf‘s story was its overseas sales, particularly to PBS stations in America. It’s something which is so easy to forget from a UK perspective: that there is a whole language of television connected with Dwarf that I never got to see.

So let’s take a look at… Mike Frisbie’s Sci-Fi Friday Night, on Iowa Public Television. Starting in the early 90s, this was a weekly line-up of various science fiction shows, including Doctor Who, Blake’s 7, and… oh, hello, Red Dwarf. And each show was introduced by Mike Frisbie in his own inimitable style.

Here’s what he had to say about Bodyswap in 1996:

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You Stupid Ugly Goit: Leaseholder’s Addendum

While we’re all working on bigger things for G&T behind the scenes, it’s left to me to keep the front page updated. And what better way to do that than foist some unpleasant off-cuts from an old article onto you?

Here is your plate of raw offal, then. A couple of months back I posted this piece, on the reshoots required for Series 1 to put Holly in-vision. There was one thing I was never quite able to nail down, however, and going after it seemed like an annoying diversion in an already faintly annoying article, so I pretended not to notice and hoped everyone else would happily ignore it as well. Still, perhaps you’re cleverer than me, and can figure out the below mystery. And it concerns a very important scene in the development of Holly.

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End of Part One, Red Dwarf XII Edition

With the two year anniversary of Red Dwarf XII rapidly approaching, it’s time to tidy up a few remaining bits of business here on G&T. Our retrospective DwarfCasts are already in the can and will be published before too long. But before those, there’s one thing which I’m sure you’d all hoped I’d forgotten about. Yes, it’s time for that sodding ad breaks article again.

A quick reminder of why I do these. When I first wrote this piece on Red Dwarf X‘s ad break placement, I did it because I was annoyed. It felt like Dwarf hasn’t even tried to adapt to being on commercial television, and its ad breaks were placed and presented in a most begrudging manner. However, this was almost entirely rectified with Red Dwarf XI, which did a pretty damn good job.

Seeing as Red Dwarf XII was made in tandem with XI, surely the same is true this time round? Let’s take a look.

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G&TV: Take Two (1/6/88)

G&TV logoThis month on G&TV, let’s take a look at something we’ve been meaning to cover for ages. A shade over two months after Series 1 of Red Dwarf was first transmitted, Children’s BBC show Take Two asked kids what they thought of the series.

Which is automatically a very interesting little time capsule. After all, whether given by kids or by adults, contemporary opinions of Series 1 are as rare as hen’s testicles.

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You Stupid Ugly Goit

ED BYE: Rob and Doug and I made the decision that it’d be better to see Norman rather than just hear him, because he’s got a great lugubrious face.
NORMAN LOVETT: Initially the money was low because it was a voiceover, so they can get away with paying you peanuts for that.
ROB GRANT: Norman had been banging on from the start saying “Get my face on-screen, that’s the money…
NORMAN LOVETT: So I kept moaning and whinging about this. I said “Why have I got to do a voiceover in a TV show? Why can’t you see this face, and why can’t this computer called Holly look like this bloke here?” By the time we’d recorded the third episode of the first series, it had been agreed that we would see Holly, and we’d go and reshoot some of the bits for the first and second and third episodes…

The Beginning, Series 1 documentary, The Bodysnatcher Collection

The above story – in endless slight variations – has gone down in Red Dwarf lore. Norm whinged right at the start of Series 1 that Holly should be in-vision, the powers that be eventually agreed, and they went back and did some reshoots to add his FACE to the early episodes. (The real horror arises when you consider that due to the electrician’s strike, where Series 1 was entirely rehearsed but never actually recorded, Norm was probably on his ninth week of moaning about this, rather than the third. Try not to let that shrivel your soul too much.)

However, what hasn’t been done is going back to examine those early episodes in detail, to see exactly how those reshoots worked. And when you do, you spot a few interesting details which haven’t been widely talked about.

Let’s take a look. Doing this takes a certain amount of extrapolation; without access to the proper production paperwork, we have to do a bit of stretching and join some dots along the way. But I think the below makes sense. Obviously, to get any kind of idea of how this worked, we have to take the episodes in production order rather than broadcast order.

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G&TV: Razzmatazz

G&TV logoThis month’s G&TV is short and sweet. No prolonged, tedious analysis. No choosing something purely so I can rant about something which has been annoying me this week. Just a little something you almost certainly haven’t seen before.

With many thanks to Gary Rodger for the clip, here is Mac McDonald appearing on Tyne Tees kids music programme Razzmatazz in 1981.

As… a human jukebox.

You’re welcome.

G&TV Special: The 10%ers

G&TV logoThese days, it’s difficult to imagine the sheer unavailability of Series 1 of Red Dwarf. Broadcast in 1988, it was only released on VHS in 1993, and got its first repeat run in 1994. For five years, the series existed merely as fuzzy off-airs, passed around among fans with increasing generation loss. It’d be really odd if anything major linked to Red Dwarf was like that these days, wouldn’t it?

On an entirely unrelated matter, today’s topic is Grant Naylor talent agency sitcom The 10%ers. Which has never had a commercial release or a repeat run. And seeing as it’s 2019 and both are looking increasingly unlikely, we’re going to be a little cheeky. Today is the 25th anniversary of the start of Series 1, after all.

So here’s the pilot, broadcast as part of ITV’s Comedy Playhouse in 1993:

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G&TV: Filthy Rich & Catflap

G&TV logo

RICHIE: Maybe it’s a producer with a wonderful part.
EDDIE: Oo-er!
RICHIE: Eddie, I said wonderful part, not attractive willy.

When talking about Filthy Rich & Catflap, there’s many routes I could have taken. I could have focused on it being an ahead-of-its-time dissection on the nature of celebrity. I could have talked about alternative comedy butting heads with the old showbiz. I could mention the endless fourth wall breaking – done far more than The Young Ones or Bottom ever did.

Or I could start with a knob gag. OK, fine, I’ll go with that.

Of course, Filthy Rich & Catflap and early Red Dwarf are very much sister shows. Both were part of Paul Jackson’s pot of money at BBC Manchester, and were both recorded in BBC Manchester’s Studio A at Oxford Road. And both shared many of the same crew. As you take a look at this video from the very end of the series – featuring the show gleefully knocking down the last remaining barrier between them and the viewer – see how many people who also worked on Red Dwarf you can spot.

But that isn’t why I’ve chosen this video for this month’s G&TV. Here’s a fun fact: did you know you can see the outside of Red Dwarf – that is, the hull of the ship itself – in those closing moments of Filthy Rich & Catflap? Despite it being recorded a year before Red Dwarf?

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Take the Fifth

“Despite some last-minute shooting by Rob and Doug after the wrap party, Demons & Angels was felt to be the weakest show of the series by Rob and Doug, and so was placed 5th – the traditional place for what you think is your worst episode. (Despite D&A being great.) Nobody cares if you’ve got a duff ep if you’ve had four great ones before it, and end the series with a blinder.”

“Episode Orders”, Ganymede & Titan, December 2005

Over the years on here, we’ve often idly mentioned the idea that the worst episode of any given comedy show should be put in the fifth episode slot out of six. In fact, we’ve mentioned it so much that it’s almost become a truism, a cliché… and yet we’ve never really examined where it came from, or actually looked at whether it applies to Red Dwarf in any concrete way.

Hello. I am John Hoare, and I am going to take a look at whether this actually applies to Red Dwarf in any concrete way.

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